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‘THE FLASH’ Speeds Past Expectations, Strikes Lightning in the DCEU

In a time- and universe-bending world where superheroes have become a constant fixture on our screens, their welcome wearing thinner by the appearance, The Flash emerges as a super enjoyable surprise. A “solo” venture that sees the DC Extended Universe taking their crack at the whole multiverse thing that has been so popularized in superhero films of the past “phase”, The Flash actually focuses on dynamic storytelling and character complexity to impressive results. Despite a runtime that confidently skates past the two and a half hour mark, director Andy Muschietti (Mama, It) and screenwriter Christina Hodson (Bumblebee, Birds of Prey) have crafted a tale that zips by in an exhilarating flash of character, nostalgia, and good old-fashion storytelling. Read More

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Exhaustingly Excessive Actioner ‘BULLET TRAIN’ is Pure Joyless Destruction 

Snakes On a Train

The scourge that is the 2022 summer movie season continues with the loud, ultra-violent, and ultimately entirely mindless Bullet Train. Best known for the John Wick franchise, Deadpool 2, and the Fast and Furious spin-off Hobbs and Shaw, writer-director David Leitch is a creator of quickly diminishing returns. Here, he delivers an algorithmic Guy Ritchie wanna-be crime whodunnit packed with movie stars and the popular “gun-fu” combat style the former stunt man helped pioneer but short on actual plot locomotion and charm. All set on a train! It’s not an entirely feckless ride, the game performances are just enough to power the film forward and keep the groans to a minimum, but it’s as disposable as it is bloated with wanton destruction. For a movie this unconcerned with logical collateral fallout, one that childishly gawks at violence, it sure does have a strange amount of references to Thomas the Tank Engine. Read More

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‘KNIVES OUT’ Boasts Killer Ensemble Cast, Mediocre Mystery 

Rian Johnson’s star-studded Knives Out is an Agatha Christie-esque whodunnit complete with a colorful cast of characters, a maybe-murder most foul, and an undercooked mystery that astute audience members will certainly figure out well before the intended reveal. As a fun, star-powered slice of old school murder mystery, Knives Out is a welcome bite of throwback entertainment, a high profile anti-blockbuster of sorts: free of CGI, action set pieces, and superheroics of any sort. In that capacity, the good-old-fashion Hollywood whodunnit is a welcome bit of counter-programming to the overly dramatic winter-season awards fare or the sensory-overwhelming, block-busting eye candy that dominates the box office, it’s just a shame that the whole enterprise feels so surface-level and ultimately easy to solve. Read More

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Out in Theaters: ’12 STRONG’

12 Strong calls in the cavalry on Al-Qaeda in Nicolai Fuglsig’s “declassified true story of the horse soldiers”. Spurred by the 9/11 terror attacks, Captain Mitch Nelson (Chris Hemsworth) leaves behind a safe, cushy military desk job to lead a team of special forces to the sandy front lines of the War on Terror. There, he must earn the trust of an Afghan warlord to take down a critical Taliban position. We’re told repeatedly that the fate of the War rests on this mission’s success and, well, we all know how that one turned out. Generic on most accounts, 12 Strong is an inoffensive American war movie relying on offensive war-mongering tactics. The semi-sturdy if mostly unremarkable acting and blasé set pieces lack the praise-worthy or memorable accents to set 12 Strong aside from the harras.  Read More

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Out in Theaters: ‘THE SHAPE OF WATER’

Far and away the best of Guillermo del Toro’s English language features, The Shape of Water, like Dr. Frankenstein stitching together disparate appendages, conjoins the romanticism of the 1930s Classic Universal Monsters Movies, the conspiratorial grit of the 70s  Hammer Films and a splash of Max, Mon Amour to craft a truly one-of-a-kind, genre-bending splat of modern monster cinema. Breathtaking, adorable and fundamentally weird as hell, The Shape of Water is a slice of well-germinated fan fiction that’s so much more than its leaflet thin description of Deaf Girl falls for Fish Man could possibly describe. Read More

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Talking With Veronica Ferres of ‘SALT AND FIRE’

From the Peruvian rainforest to the Katmai Alaskan Wilderness, the depths of the Chauvet caves of Southern France to McMurdo Station in AntarcticaWerner Herzog is a journeyman who has long questioned man’s relationship with nature. In Salt and Fire, Herzog takes us to Bolivia’s sprawling Salar de Uyuni, the worst’s largest salt flat. A desolate beauty of biblical proportion, here transpires a kidnapping and desertion in this eco-minded quasi-thriller that feels  like a natural extension of Herzog’s last documentary, Into the Inferno. The auteur again twisting his most recent obsession (volcanoes) into narrative form to varying success.  Read More

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Out in Theaters: ‘NOCTURNAL ANIMALS’

In 2009, Austin, Texas native and noted fashion designer Tom Ford made his feature film debut with A Single Man. A delirious and stunningly photographed vision quest through loss and grief, A Single Man defined Ford as a filmmaker whose haute couture background greatly influenced his aesthetic and in turn his very process. Earning a Best Actor nomination for Colin Firth, A Single Man also established Ford as an actor’s director and helped in turn attract the likes of two of Hollywood’s finest, Jake Gyllenhaal and Amy Adams, for his latest feature, Nocturnal Animals. Read More

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Out in Theaters: ‘LOVING’

There is much to respect and admire about what Jeff Nichols has done with Loving. However its incredibly restrained tactics and slow as molasses narrative kept it at a bit of an arms length for me emotionally. But Nicols’ methodology is no mistake. Loving purposefully emulates its subjects – Richard and Mildred Loving, both of whom are played to quiet perfection by Joel Edgerton and Ruth Negga – an interracial couple who accidentally change the course of post-Jim Crow American history when they become embroiled in a critical constitutional law case. Read More

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Out in Theaters: ‘COMPLETE UNKNOWN’

An old flame forks her way back into the life of a married man in Joshua Martson‘s mysterious and somewhat satisfying Complete Unknown. Marston struck a chord with debut Maria Full of Grace, which played Sundance 12 years ago, giving a drug mule a face in performer Catalina Sandino Moreno. With Complete Unknown, the Californian director harnesses a selfsame ability to craft complex female leads but allows the narrative to come to tatters as it crests its many tonal shifts. Read More

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Out in Theaters: ‘MIDNIGHT SPECIAL’

Jeff Nichols is very quickly solidifying himself as a distinct and essential American voice. The 37-year old Arkansas native blends the mystic nostalgia of Steven Spielberg’s great wonders with the romanticized bayou lyricism of a Mark Twain novel. The result is often staggering,  the heavy, heady crossroads of lock stock ultra violence and meaningfully sentimental morality plays. In 2012, Nichols’ snaggle-toothed fable Mud sounded the starting gun for the McConaissance, just as he basically introduced the world to Michael Shannon as a leading man in 2011’s Take Shelter. More than just a emcee for introducing (or reintroducing) us to new or reinvigorated talent,  Nichols has emerged as a bold writer/director willing to take big risks and reap big rewards and Midnight Special, a work of great wonder and beauty, is blinding evidence of this fact. Read More